Original subtitles

PREVIOUSLY ON LOVE & HIP-HOP

ATLANTA...

THIS IS FOR YOU.

YOU WANT TO MOVE US WAY OUT

HERE WHILE YOU'RE DOING YOU

IN THE CITY?

YOU GOT ME WORKING HARD,

BABY.

YOU'RE LOOKING AMAZING.

WITH JOSELINE, FOR SURE I GOT

A WINNER.

WITH HER BEAUTY, HER SWAG,

MY COACHING, SHE'S BOUND TO GO

TO THE TOP.

WE'VE BEEN THROUGH SO MUCH--

THE CHEATING, AND JUST FROM

A WOMAN'S PERCEPTIVE, LIKE,

IT'S HARD TO TRUST AND BELIEVE

YOUR EVERY WORD,

YOUR EVERY MOVE.

I NEED THAT HIT.

SO YOUR SOUND IS LIKE--YOU'RE

GOING FOR THE TRINI SOUND?

[rapping in Creole]

MM.

OH, SHE'S HOT.

JOSELINE IS A REAL CHICK.

HER MAN IS STEVIE J.

I'M SORRY.

NO, IT'S NOT.

THAT WOULD BE MY MAN.

WHERE DOES STEVIE FIND

THESE TRASH BAGS?

MIMI.

ONCE AGAIN, STEVIE'S GOT ME

ALL [bleep] UP.

WORK? FOR REAL?

I'M--I'M LOOKING FOR YOU.

ARE YOU [bleep] SERIOUS

RIGHT NOW?

WAIT A MINUTE.

IF YOU WALK THE [bleep] OUT

OF HERE AND GET IN THAT CAR WITH

THAT BITCH, YOU'RE SHOWING ME

WHAT THE [bleep] YOU'RE DOING.

* THIS IS THE LIFE

♪ THIS IS THE LIFE

* HA

♪ AIN'T NOTHING LIKE ♪

♪ HIP-HOP MUSIC

* THIS IS THE LIFE

♪ THIS IS THE LIFE

[dynamic hip-hop music]

♪

HOW YOU FEEL?

LAST NIGHT WAS A WHOLE LOT

TO TAKE IN.

I'M HURT.

I'M PISSED OFF.

I'M EMBARRASSED.

I'M DISGUSTED.

YOU SHOULD BE.

LAST NIGHT AT K. MICHELLE'S

BIRTHDAY PARTY, STEVIE J. SHOWED

HIS ASS.

I WAS EMBARRASSED.

THAT AIN'T EVEN MY [bleep].

BEING IN THE ROOM WITH THEM

IN THAT ELEMENT, I CLEARLY SEE

THAT IS SOMETHING ELSE.

THAT IT'S OBVIOUS THAT

THEY'RE [bleep].

CLEARLY.

HE'S KEEPING [bleep] AWAY

FROM YOU.

I...

CLEARLY.

THE THING ABOUT IT, ARIANE,

IS, I'M NOT WITH HIM AROUND HER,

SO I DON'T SEE ALL OF THIS.

BUT THAT WAS--THAT WAS YOUR

SIGHT LAST NIGHT.

ABSOLUTELY.

BECAUSE ALL I GET IS ONE THING.

"I WANT YOU.

I WANT MY FAMILY."

THAT MONOTONOUS BULL[bleep].

THAT'S ALL I GET.

THAT'S ALL I KNOW.

HIS WORDS AREN'T ENOUGH.

MIMI IS AN AMAZINGLY BEAUTIFUL

WOMAN.

SHE CAN HAVE ANYBODY IN

THIS WORLD, BUT SHE HAS

TO WANT IT.

I DON'T CARE HOW GOOD THAT

[bleep] IS, HOW BIG IT IS,

WHATEVER.

I DON'T CARE.

I'M WILLING TO DO WHATEVER

I HAVE TO DO TO HELP HER BREAK

THIS ADDICTION TO STEVIE.

I WANT YOU TO

DO SOMETHING ELSE.

YOU'VE JUST BECOME SO

COMFORTABLE AND COMPLACENT,

AND THAT'S NOT ALWAYS COOL.

YOU GOT TO GET OUT OF THAT,

'CAUSE YOU'VE BEEN DOING IT

FOR TOO LONG.

WHAT ARE YOU GONNA DO?

ARIANE, I'VE--I CAN'T SIT

HERE ON YOUR COUCH RIGHT NOW AND

WORD-FOR-WORD TELL YOU WHAT

I'M GONNA DO.

I HAVE TO STILL DEAL WITH

THIS MAN.

WE HAVE A CHILD TOGETHER.

DO YOU THINK YOU'RE GONNA

LEAVE HIM, THOUGH?

HONESTLY, DO YOU THINK YOU'RE

GONNA LEAVE HIM?

[dramatic hip-hop music]

♪

MY NAME IS RASHEEDA.

I AM A FEMALE UNDERGROUND

HIP-HOP ENTERTAINER.

REPRESENTING THE ATL,

SHAWTY.

I'VE BEEN MARRIED FOR 12 YEARS

TO MY SEXY GODIVA CHOCOLATE

HUSBAND.

HIS NAME IS KIRK, AND WE HAVE

AN 11-YEAR-OLD.

HIS NAME IS KY.

THAT'S MY LITTLE "G".

AND I HAVE FOUR STEPCHILDREN.

♪ I GOT MY OWN HOUSE

♪ I GOT MY OWN CAR

♪ LIKE LUPE SAID

♪ I'M A SUPERSTAR ♪

I'VE BEEN SIGNED TO MAJOR RECORD

LABELS LIKE MOTOWN AND JIVE

RECORDS, BUT THEY NEVER

UNDERSTOOD ME AS AN ARTIST.

SO WE DECIDED TO GO INDEPENDENT,

AND TO BE HONEST WITH YOU,

IT'S BEEN WORKING FOR ME

EVER SINCE.

♪ TO RUN A CREDIT

♪ AND SWAG CHECK

♪ WHY YOU FLEXIN' ♪

♪ WHEN YOU LIVIN' PAYCHECK ♪

BEING AN INDEPENDENT ARTIST

REALLY TAKES TWICE THE WORK,

AND IT'S REALLY HARD WHEN YOU'RE

A WIFE AND A MOTHER.

♪ SO THAT MEANS I ROCK

♪ WITH THE BEST

WHAT ARE WE WORKING ON TODAY?

TRYING TO FIGURE OUT WHICH

ONE OF THESE SINGLES WE'LL START

OFF WITH.

I'M STILL GOING THROUGH

THE NUMBERS, TRYING TO STICK

TO RESEARCH.

I'M KIRK.

I'M RASHEEDA'S HUSBAND

AND HER MANAGER.

TODAY WE PICKIN' WHICH SINGLE

WE GONNA RELEASE FIRST.

HOW'S MY RECORD LOOKING?

LEGS TO THE MOON IS

EXCELLENT.

THE MARRY ME RECORD IS

EXCELLENT.

SO ARE WE GONNA SET THOSE UP

FOR THE VIDEO?

WHAT ARE WE GONNA DO?

WE GONNA--WE GONNA RUN IT, OR

WHAT DO YOU WANT TO DO?

RASHEEDA IS ABOUT TO GO

STRAIGHT DOWN THE MIDDLE

MAINSTREAM, BUT HOOD, AND IT'S

GONNA BE CRAZY.

SHE HAS EVERYTHING THAT'S

MISSING IN THE GAME RIGHT NOW,

AND I THINK THERE'S ABOUT TO BE

AN EXPLOSION TO THE RAP GAME.

I WANT TO SELL ONE MILLION PLUS

ALBUMS INDEPENDENT.

I'M KNOWN FOR, LIKE, MY CLUB,

GHETTO, HOOD, FABULOUS,

BOSS CHICK MUSIC.

WITH LEGS TO THE MOON, THAT'S

GONNA BE AN INITIAL, LIKE, BOOM!

IT CAPTURES YOU, ALREADY

THE TITLE, LEGS TO THE MOON.

"OOH, WHAT THEY TALKIN' ABOUT?"

I KNOW LEGS TO THE MOON IS

CRAZY, BUT TO ME,

THE MARRY ME RECORD STICKS OUT

MORE FOR A LOT OF REASONS.

I'M DEFINITELY MORE HER SERVANT

THAN HER HUSBAND OR MANAGER.

IT'S LIKE I HAVE TO BEND OVER

BACKWARDS FOR HER ALL THE TIME

TO KEEP A SMILE ON HER FACE.

AND THAT'S PROBABLY SOME SUCKER

[bleep], BUT, YOU KNOW, I JUST

DO WHAT I GOT TO DO,

'CAUSE I'M ABOUT MAKING IT

AND WINNING.

IT'S ABOUT WINNING HERE.

I FEEL LIKE YOUR FIRST SINGLE

DEFINITELY HAS TO BE STRONG IN

ORDER TO CAPTIVATE EVERYBODY,

AND YOUR SECOND SINGLE NEED TO

BE THE ONE THAT TAKE YOU THERE.

WHAT WAS OUR BIGGEST RECORD

LAST YEAR?

YOU WANTED TO CHANGE THE RECORD.

I DID IT.

YOU WANTED ME TO JUMP ON

ANOTHER RECORD.

I DID IT.

AND THOSE RECORDS DIDN'T PAN OUT

THE WAY WE WANTED THEM TO,

AND THOSE WERE YOUR DECISIONS.

I DON'T WANT TO JUST DO WHAT YOU

WANT TO PLEASE YOU.

I WANT TO PLEASE THE FANS,

BUT AT THE SAME TIME, IF I KICK

MY LEG UP ON YOU WHILE WE LAYING

IN THE BED AFTER THE BUSINESS,

DON'T KICK IT BACK OFF

BECAUSE YOU'RE MAD ABOUT

SOME BUSINESS CRAP.

SO MARRY ME IT IS.

WITHOUT THE ATTITUDE.

I AIN'T GOT NO ATTITUDE!

I'M GOING--I'M GONNA FOLLOW

YOUR LEAD THIS TIME.

BUT I'M GONNA TELL YOU LIKE

THIS: I WANT US TO MAKE

THE RIGHT DECISIONS.

AND I'VE GOTTEN BETTER WITH

TAKING THAT TO THE BEDROOM.

BUT I'M WORKING ON TRYING TO NOT

BE READY TO STRANGLE YOUR ASS

WHEN WE GET IN THE BED.

[laughs]

[fierce hip-hop music]

♪

AFTER THE BIRTHDAY MADNESS,

I GOT TO GO SPEAK TO STEVIE TO

MAKE SURE HIM AND I IS COOL,

BECAUSE I REALLY NEED THAT HIT

RECORD FROM HIM.

WHERE'S STEVIE AT?

HE'S ON HIS WAY.

WE--WE GOT TO WORK TODAY.

SO HE'S ON HIS WAY.

SAY HELLO WHEN YOU COME IN

THE ROOM FIRST.

BE POLITE.

SIT DOWN.

KARLIE REDD, SHE JUST WANT TO

START PROBLEMS.

AND SHE NEED TO START IT WITH

SOMEBODY ELSE, 'CAUSE SHE

STARTING WITH THE WRONG PERSON,

LET ME TELL YOU.

I'M REALLY CONFUSED ABOUT WHAT

HAPPENED THE OTHER NIGHT,

BECAUSE, YOU KNOW, I THOUGHT YOU

AND I WAS COOL.

HONESTLY, MIMI WALKED IN,

I DIDN'T EVEN KNOW.

I DIDN'T KNOW NOTHING.

I HAVEN'T SEEN MIMI IN YEARS.

SO I'M JUST, LIKE, PUMPING YOU

UP LIKE, "YO, THAT'S HER

[bleep].

SHE RIDE OR DIE FOR STEVIE."

LIKE, WHAT?

I'M JUST LETTING MIMI KNOW,

LIKE, THEY HAVE A GREAT

CHEMISTRY.

AND THEN THEY WERE LIKE, "WHAT?"

WHEN I FIRST MET KARLIE,

I THOUGHT SHE WAS COOL, BUT SHE

DO TOO MUCH OF THIS [bleep].

SHE TOLD MIMI THAT STEVIE AND I

WAS DATING, AND THIS AND THAT

AND THE OTHER.

YEAH, SHE TRYING TO BE MESSY,

AND YES, IT'S GONNA BE PROBLEMS.

MIMI AND STEVIE BEEN TOGETHER

FOR 15 YEARS.

I JUST CAME IN THE PICTURE ABOUT

FOUR OR FIVE MONTHS AGO.

SO I'M CONFUSED.

YOU AND STEVIE WAS AT THE TABLE.

YOU KNOW, YOU CALLING HIM DADDY

AND EVERYTHING LIKE THAT.

BUT BETWEEN ME AND YOU,

REAL TALK, YOU DON'T WANT NOBODY

TO KNOW?

I-I DON'T KNOW WHAT YOU MEAN

WHEN YOU SAY IF I DON'T WANT

ANYONE TO KNOW.

FIRST OF ALL, STEVIE AND I ARE

JUST WORKING TOGETHER.

OKAY, SO THE FACT THAT YOU

KISSED HIM ON THE LIPS,

THAT'S NOT--

BUT YOU'RE LYING ABOUT THAT,

BECAUSE I NEVER KISSED STEVIE ON

THE LIP.

YOU KISSED HIM.

WHEN DID YOU SEE ME--WHAT?

WHEN--I REALLY WANT YOU TO

EXPLAIN TO ME WHEN I [bleep]

KISSED HIM ON THE LIPS.

YOU KISSED HIM.

WHERE?

WERE YOU DRUNK?

BABY, I DON'T GET DRUNK.

OKAY.

MAYBE YOU WAS DRUNK AND YOU

THOUGHT THAT I KISSED HIM ON

THE LIP, BUT I DIDN'T KISS HIM

ON THE LIP.

YOU WAS CALLING HIM DADDY.

OKAY, THAT I GIVE YOU.

I WAS CALLING HIM DADDY.

OKAY.

AND I ALWAYS CALL HIM DADDY.

BRING ME THE PICTURES OF US

KISSING.

BRING ME PICTURES OF US SEXING.

AND THEN WE CAN GO--

WE CAN GO THERE.

I KNOW WHAT I SAW.

I'M A GROWN-ASS WOMAN.

AND I'M NOT STUPID.

I'M A BAD LITTLE BOOCH.

I DON'T NEED STEVIE.

I COULD GET ANY MAN I WANT, ONE.

TWO, I DON'T WANT STEVIE.

HE COULD BE WITH ME.

I'M NOT TRIPPING.

I JUST WANT TO WORK.

THERE'S SO MUCH I WANT TO

TALK ABOUT THAT WITH THAT

SITUATION RIGHT THERE, YOU KNOW.

BUT I'M REALLY--I'M REALLY

TRYING TO HOLD MY BREATH,

'CAUSE, YOU KNOW--UGH.

LIKE, OH, MY GOSH.

AT THE END OF THE DAY, I WANT TO

WORK WITH STEVIE.

I'M HERE TO WORK.

JUST LIKE YOU'RE HERE TO WORK,

I'M HERE TO WORK.

I'M HERE TO WORK TO GET

MY [bleep] HIT.

THAT'S WHAT I'M HERE TO DO.

WE HAVE TO COME INTO

AN AGREEMENT, 'CAUSE YOU HAVE TO

REMEMBER, I AM STEVIE'S

NUMBER-ONE PRIORITY RIGHT NOW.

WE HAVE A LOT GOING ON--

A LOT GOING ON.

AND YOU OLDER THAN ME,

SO I UNDERSTAND WHY YOU GIVING

ME ADVICE, BUT I--I'M WORKING

WITH THE BEST OF THE BEST.

SO HE GAVE--HE GIVES ME PLENTY

OF ADVICE.

AND IF HE HASN'T TOLD ME TO STOP

CALLING HIM DADDY,

I'M NOT GONNA STOP.

I WANT YOU TO LOOK ME IN

MY FACE AND TELL ME,

ARE YOU [bleep] THIS GIRL?

I FELT LIKE YOU WAS ASHAMED

OF ME.

I KNOW PEOPLE USED TO TELL YOU,

"OH, YOUR MOTHER'S ON DRUGS,"

WHICH--IT WAS TRUE.

I DON'T WANT TO TALK

ABOUT THIS.

I JUST TOOK A PREGNANCY TEST.

[atmospheric hip-hop music]

♪

AT THE K. MICHELLE BIRTHDAY

PARTY, I WAS LOOKING A LITTLE

BANANAS.

I MIGHT HAVE EVEN [bleep] UP.

AND I'VE BEEN CALLING MIMI OVER

AND OVER AGAIN, BUT SHE'S NOT

ANSWERING MY CALLS.

SHE OWNS THIS LITTLE CLEANING

COMPANY, SO I'M GONNA POP UP

AT HER JOB.

YOU KNOW, I GOT TO SMOOTH THINGS

OUT ASAP BEFORE IT GETS

WAY MESSIER.

YOU AIN'T ANSWERED MY CALLS.

WHAT'S UP WITH YOU?

[sighs]

I CAME TO LET YOU KNOW A FEW

THINGS THAT--FIRST OF ALL,

YOU AND MY FAMILY--YOU

AND MY KIDS ARE MY NUMBER-ONE

PRIORITY.

JUST LISTEN TO ME FOR A SECOND.

AT THE END OF THE DAY, YOU GOT

TO UNDERSTAND, I LOVE YOU, BUT

WORKING IS HOW I GET MY MONEY.

AND I WANT TO MAKE THINGS RIGHT

WITH US.

WHAT IS GOING ON WITH

YOU AND HER?

WHAT MAKE YOU ASK ME THAT?

WHY WOULD SHE THROW A DRINK

ON YOU?

SHE PROBABLY WAS JUST--

YOU KNOW, I DON'T KNOW.

YEAH, YOU DO KNOW.

ASK HER.

NO, I'M ASKING YOU.

I DON'T KNOW.

I'M ASKING YOU, 'CAUSE YOU DO

KNOW.

I WANT YOU TO LOOK ME IN

MY FACE AND TELL ME,

ARE YOU [bleep] THIS GIRL?

NO, I'M NOT.

WHY ARE YOU DOING ALL THAT?

WHY ARE YOU SMILING?

[hisses]

I'M NOT [bleep] HER.

WHY ARE YOU SMILING?

'CAUSE YOU ALL IN MY FACE

LIKE--

YEAH, 'CAUSE YOU [bleep]

SMILING, AND I DON'T SEE WHAT'S

FUNNY.

NO, I'M NOT [bleep] HER.

HAVE YOU EVER?

I'M NOT [bleep] HER.

I DON'T BELIEVE YOU.

WHEN I SAW YOU GUYS, AND WHEN I

WALKED OUT, YOU AND HER BEEFING.

FOR WHAT?

WE WAS BEEFING BECAUSE SHE

WANTED TO GO TO THE STUDIO.

WE WAS ALREADY TWO HOURS LATE.

THEN YOU SHOULDN'T HAVE CAME

TO THE PARTY.

YOU'RE RIGHT.

I DON'T WANT TO SCREAM

AND HOLLER.

I'M ASKING YOU TO JUST CHILL.

OKAY.

THANK YOU.

IT'S NOT LOOKING GOOD RIGHT NOW.

IT'S GONNA TAKE SOME FIXING,

SOME REAL, REAL FIXING.

LET'S TALK SERIOUS FOR

A MINUTE, OKAY?

LET'S GET DOWN TO THE BUSINESS.

I WANT TO CUT YOU IN.

I WANT TO GIVE YOU, LIKE,

A PERCENTAGE--

A COUPLE PERCENT.

A COUPLE PERCENT?

YEAH.

WHAT IS THAT?

5% OF, YOU KNOW,

THE PROJECT.

WHAT PROJECT?

JOSELINE'S PROJECT.

NO, [bleep] THAT.

IF YOU GIVING ME 5%,

I WANT 5% FROM YOU,

AND I WANT 5% FROM HER.

[laughs]

GIVE ME 10%...

YO...

OF EVERYTHING.

I KNOW YOU [bleep] THIS BITCH.

SO I WANT 5% FROM YOU.

I'M NOT [bleep] HER.

MY SPIDEY SENSES TELL ME

OTHERWISE.

I'M DONE PLAYING GAMES.

I KNOW WHAT'S BEEN GOING ON.

I'M READY TO HIT STEVIE IN

THE ONLY PLACE HE'S GONNA FEEL

IT: HIS WALLET.

PUT IT ON PAPER.

ALL RIGHT.

GET THE CONTRACT DRAWN UP.

I GOT--

GET THE LAWYER TO LOOK AT IT.

I'LL GET ED TO--

THROW JOSELINE ON IT.

YOU LOOK AT IT.

YOU GIVE IT TO YOUR ATTORNEY.

ABSO--ABSOLUTELY.

SO WHAT TIME YOU GETTING OFF?

I DON'T KNOW.

WHEN I GET DONE.

CAN I SEE YOU

AFTER YOU FINISHED?

NO.

OH, NOW YOU WANT TO SEE ME?

NOW?

NOW YOU WANT TO SEE ME.

WILL YOU THINK ABOUT IT?

PROBABLY WHEN I GET DONE

HERE, I'M GONNA BE TIRED MYSELF,

SO...

CALL ME TOMORROW MAYBE.

[chuckles] WORD?

TOMORROW?

YEAH.

THIS MARRY ME RECORD IS

A FEMALE ANTHEM.

YOU KNOW THAT, RIGHT?

SO I HEAR.

SO YOU KNOW.

[hip-hop music]

[exclaims]

THAT'S WHAT--COME ON, NOW.

♪ PUT IT ON AND MAKE HIM

♪ WANT TO MARRY ME

♪ I PUT IT ON AND MAKE HIM

♪ WANT TO MARRY ME

♪ I PUT IT ON TO MAKE HIM

♪ WANT TO MARRY ME

AND IT'S REAL TALK.

YOU KNOW HOW MANY GIRLS CAN

RELATE TO THIS?

WANT TO GET MARRIED,

WHO IS MARRIED,

AND KNOW THEY PUT IT ON?

♪ PUT IT ON AND MAKE HIM

♪ WANT TO MARRY ME

♪ YEAH, YOU KNOW IT

[laughs]

♪ COME ON

♪ BOY, YOU KNOW YOU WANT TO

♪ PUT A RING ON MY FINGER

♪ THIS LOVIN' SO GOOD ♪

♪ I SHOULD NEVER BE SINGLE

♪ HE LOVE THE WAY I THROW IT

♪ LIKE A PITCHER ON THE MOUND

♪ PUT IT ON AND MAKE HIM

♪ WANT A WIFE OR KIDS

[yowls]

LET'S HEAR IT.

[yowls]

♪ I CAN RIDE IT

♪ LIKE A COWGIRL

[laughs]

YOU KNOW, LIKE, I'VE BEEN

THINKING ABOUT THIS MARRY ME

RECORD, AND I REALLY, REALLY

FEEL LIKE WE NEED TO DO A REAL

VIDEO AND REALLY STEP

EVERYTHING UP.

MEANING, REAL DIRECTOR,

REAL PRODUCTION,

BETTER CAMERAS,

MORE THAN ONE CAMERA.

YOU KNOW WHAT I'M SAYING?

LIKE, A TOTAL CONCEPT

STORYBOARD--THE WHOLE SHEBANG.

I'MA GIVE RASHEEDA WHAT SHE

WANT, BUT AT THE SAME TIME,

SHE'S GONNA DO IT MY WAY.

I NEED RASHEEDA TO BE 100

ON THIS VIDEO.

SOMETIMES SHE'S JUST PRONE TO

JUST PHONIN' IN, NOT BEING 100,

NOT BEING FOCUSED.

SO I NEED HER TO BE RIGHT THERE.

YOU KNOW, THERE'S TIME WHEN YOU

PUTTIN' RASHEEDA TO A PROJECT

AND WE CAN FEEL IT.

RIGHT.

THERE'S TIMES WHEN YOU DOING

IT, WHEN YOU, YOU KNOW--WHEN

THERE'S THAT URGENCY OF,

"OKAY, I NEED TO RIP THIS

[bleep] DOWN."

LIKE, THERE'S A DIFFERENT

RASHEEDA.

OKAY, AND THAT'S WHERE

I'M AT.

ARE YOU READY?

I'M--I'M--

BECAUSE I'M GONNA BE READY,

BECAUSE THE LAST THING THAT I'M

GONNA BE COMFORTABLE WITH IS YOU

TELLING ME THAT I'M HALF-ASSING

SOME [bleep].

LIKE, GIVE ME THE GRIND,

AND I'LL GIVE YOU MY 100%.

YOU NEED TO BE UNDERSTANDING

THAT YOU KNOW I'M GONNA DELIVER,

BECAUSE THAT'S WHAT THE [bleep]

I DO, AND WHEN I DO DELIVER,

YOU NEED TO BE READY TO TAKE

THIS PROJECT TO THE NEXT LEVEL.

WHEN IT'S TIME TO BE SOMEWHERE,

WHEN IT'S TIME FOR SOMETHING TO

BE DONE, I'M GONNA BE FRONT

AND CENTER.

[twinkling electronic music]

♪

THANK YOU.

THANK YOU TOO.

THANK YOU!

HAVE A GOOD NIGHT.

I HAVEN'T HAD A REAL

RELATIONSHIP WITH MY MOTHER

FOR ABOUT TEN YEARS.

SINCE RECONNECTIN', SHE'S REALLY

TRYING TO BE INVOLVED IN

MY LIFE.

AND MAYBE SHE'S TRYING TO MAKE

UP FOR LOST TIMES.

LET ME ASK YOU SOMETHING.

DO YOU KNOW THE DIFFERENCE

BETWEEN A BOY AND A MAN?

MM-HMM.

WHAT?

UM...

WELL--WHAT'S YOUR SAYING?

A MAN, UM...

A MAN DOES WHAT HE'S SUPPOSED

TO DO.

YEAH...

AND A BOY DO WHAT HE MADE

TO DO.

WHAT HE TOLD.

WHICH ONE WOULD YOU SAY

SCRAPPY IS?

UM...

HONESTLY.

HONESTLY?

HE'S A BOY BECOMING A MAN.

SO YOU RECOGNIZE IT.

MM-HMM.

DO YOU FEEL THAT YOU HAVE TO

BE WITH YOUR BABY'S FATHER?

OH, NO.

YOU DON'T?

NO.

LIKE, IS TRYING TO MAKE

THE FAMILY WORK, TRYING TO MAKE

IT--TRYING TO MAKE IT WORK?

NO.

YOU'RE NOT--YOU SURE?

YEAH, I'M POSITIVE.

I LOVE SCRAPPY.

HE'S MY BOOSKI.

YOU'RE SO MUCH MORE ADVANCED,

ERICA.

BUT THAT'S YOUR OPINION,

MAMA.

IT'S LIKE WHEN YOU WERE GOING

TO SCHOOL, HE SAID HE WAS GONNA

GO TO SCHOOL.

YOU WENT TO SCHOOL AND

GRADUATED AND HAVE A JOB.

I JUST WANT YOU TO BE HAPPY,

ERICA.

I'M NOT PUTTING SCRAPPY DOWN.

I DON'T DISLIKE SCRAPPY.

I FEEL THAT HE CAN DO MORE.

I KNOW THAT HE CAN DO MORE.

I'VE SEEN HIM DO MORE.

SEE, LIKE, HE'S JUST AT

A STANDSTILL RIGHT NOW, AND HE

JUST CAN'T GET IT TOGETHER.

HE'S NOT.

THAT'S JUST--THAT'S JUST

HOW YOU FEEL.

IT'S JUST YOU ON THE OUTSIDE

LOOKING IN.

DO YOU FEEL LIKE THAT BECAUSE

YOUR BIOLOGICAL PARENTS--ME

AND YOUR FATHER--WEREN'T

ACTUALLY THERE, EVEN THOUGH YOU

HAD THE FAMILY LOVE, THAT YOU

WANT TO MAKE SURE EMANI IS WITH

HER BIOLOGICAL PARENTS?

NO, 'CAUSE AT THE END OF

THE DAY, I TOLD SCRAPPY,

REGARDLESS IF WE DON'T WORK OUT,

LONG AS YOU HAPPY AND THAT

LITTLE GIRL HAPPY, I'M COOL.

JUST WANTED TO MAKE SURE YOU

WEREN'T SEARCHING FOR THAT FAM--

SEARCHING FOR THAT FAMILY,

CAUSE I KNOW WE WEREN'T--

WE WEREN'T THERE LIKE WE SHOULD

HAVE BEEN.

MY MOM RAISED ME UNTIL

I WAS ABOUT FOUR OR FIVE,

AND THEN SHE GOT ADDICTED TO

CRACK COCAINE, AND CONSEQUENTLY,

ENDED UP GOING TO PRISON.

DURING HER TIME AT PRISON,

I WAS SENT TO NEW YORK,

RAISED BY MY AUNT,

AND I DIDN'T FEEL LIKE MY MOM

LOVED ME.

WHEN WE WERE IN NEW YORK RAISED

BY, YOU KNOW, OUR AUNT AND

UNCLE, THERE WOULD BE LETTERS

COME, BUT THEY WOULDN'T COME FOR

ME.

AND THEN I BE HURT.

I BE CRYING.

WE'LL GO TO CHURCH, AND THEN I

GO UP, YOU KNOW, TO PRAY.

I'M, LIKE, EIGHT YEARS--EIGHT,

NINE YEARS OLD, AND IT GOT TO

THE POINT WHERE, LIKE, ALL

I WAS THINKING WAS, LIKE, "QUIT

GOING UP THERE, YOU KNOW,

ASKING, YOU KNOW"--ALL I WOULD

ASK IS, "COULD SHE WRITE ME

A LETTER, COULD SHE, YOU KNOW,

SHOW ME LOVE."

I DON'T WANT TO TALK ABOUT THIS.

I WROTE YOU LETTERS, ERICA.

AND I AL--LOOK AT ME.

[crying] I DON'T WANT TO--

I WROTE YOU LETTERS,

AND I NEVER STOPPED LOVING YOU.

YOU WAS ALWAYS IN MY HEART.

AND I WROTE YOU--I WROTE YOU

LETTERS.

I FELT LIKE YOU WAS ASHAMED--

THAT YOU WAS ASHAMED OF ME,

BECAUSE I KNOW PEOPLE USED TO

TELL YOU, "OH, YOUR MOTHER'S--

YOUR MOTHER'S ON DRUGS," WHICH,

IT WAS TRUE.

I'M NOT IN DENIAL.

I'M NOT PROUD OF IT,

BUT IT'S THE TRUTH.

AND I CAN'T CHANGE THE TRUTH.

ME GOING THROUGH THE UPS AND

DOWNS AND, YOU KNOW, THE TRIALS

IN THE RELATIONSHIP WITH ME AND

MY MOM JUST MADE ME A BETTER

PERSON, MADE ME, HELL,

THE MOTHER I AM TODAY.

AND I FEEL LIKE I'M A DAMN

GOOD MOTHER.

BUT I NEVER STOPPED LOVING

YOU.

NEVER.

DO YOU FORGIVE ME?

YEAH, I FORGIVE YOU.

DO YOU REALLY LOVE ME?

MM-HMM.

I LOVE YOU TOO.

CAN I HAVE A HUG?

I HAVE PRESENTED SOME

PAPERWORK FOR YOU.

[chuckles]

20%?

LET'S GO AGAIN!

AND ACTION!

WHY ARE YOU LATE?

WHAT IS THE [bleep] ISSUE?

I'M HERE, BUT I'M REALLY NOT

HERE, AND ME AND YOU AIN'T HERE.

[pensive hip-hop music]

♪

THIS IS CUTE.

CUTE?

CUTE IS FOR BABIES.

OKAY.

THIS IS SEXY.

IT'S SEXY.

IT IS.

GROWN AND SEXY.

IT'S GROWN AND SEXY.

GOT YOU A BOTTLE.

[laughs]

STEVIE'S BEEN REAL SWEET SINCE

THE OTHER NIGHT.

BUT I'VE BEEN THROUGH

THIS BEFORE.

AND I GOT A SURPRISE IN STORE

FOR HIM.

I HAVE PRESENTED SOME PAPERWORK

FOR YOU.

[chuckles]

[laughs]

I'D LIKE YOU TO READ OVER IT

CAREFULLY.

OH, [bleep].

IS THIS REAL RIGHT HERE?

THAT'S--YES, IT IS.

I WOULD LIKE TO BE PARTNERS

WITH YOU.

20%?

20%.

[laughs]

BUT HOLD ON.

YOU DIDN'T READ.

WE GOT PAGES HERE TO READ.

YOU DIDN'T READ.

WHO DREW THIS UP?

MY LAWYER.

YOU WILIN'.

I KNEW HE WAS GONNA BUCK,

BUT IT'S A LOT LESS THAN

THE 50% I SHOULD BE GETTING

FOR PUTTING UP WITH HIS

BULL[bleep].

I WOULD LIKE TO TAKE INTEREST IN

YOUR BUSINESS.

I KNOW YOU'RE STARTING A LOT OF

NEW PROJECTS.

I KNOW YOU'RE WORKING WITH A LOT

OF NEW ARTISTS, AND I WANT TO

HELP YOU WITH IT.

BUT I'M NOT GIVING UP 20%.

HOW ABOUT 10%?

10%?

10%.

THAT'S BULL[bleep].

THAT'S--THAT'S--NO.

THAT'S WHAT MANAGERS GET.

THAT'S WHAT I'M GONNA BE.

THAT'S WHAT DENNY WAS

GETTING.

SO DO YOU WANT ME TO BE

INVOLVED OR YOU DON'T?

OKAY, THIS IS, LIKE,

NEW TO ME.

YOU NEVER CAME AT ME LIKE THIS.

READ IT OVER.

TAKE IT TO YOUR LAWYER.

BUT THIS WHAT I WANT TO DO.

SO YOU'RE REALLY SERIOUS

ABOUT BEING A PART OF

MY BUSINESS.

I'M SERIOUS.

YES.

I JUST WANT TO MAKE YOU

SMILE AGAIN.

I'LL DO WHATEVER I GOT TO

TO MAKE SURE YOU'RE MINE.

I WANT TO SING YOU A SONG.

RIGHT NOW?

YEAH.

WHEN MIMI HIT ME WITH

THE PAPERWORK, I WAS LIKE,

"WOW!"

THAT'S TOUGH.

BUT SHE'S BEEN DOWN FOR

A LONG TIME, SO I GOT TO SHOW

HER THAT I LOVE HER AND I CARE

ABOUT HER, AND I WANT TO SEE HER

EAT TOO, SO WE'LL FIGURE

SOMETHING OUT.

[romantic piano melody]

♪ GIRL, I HOPE AND PRAY

♪ THAT LOVE TREATS YOU FAIR

♪ BECAUSE THE ANGELS SENT YOU

♪ PLEASE DON'T GO NOWHERE ♪

♪ OOH, BUT IF YOU DO

♪ JUST KNOW I'LL FOLLOW YOU ♪

♪ 'CAUSE YOUR LOVE CAN ♪

♪ NEVER BE REPLACED

♪ AND CAN'T NOBODY BUT YOU ♪

♪ KEEP A SMILE ON MY FACE

♪ WHOA

♪ 'CAUSE SHE WAS WHISPERIN' ♪

♪ SWEET NOTHINGS

♪

THE TRUTH IS, I STILL LOVE

THIS MAN, EVEN THOUGH HE TAKES

EVERY OPPORTUNITY TO MESS

THIS RELATIONSHIP UP.

I LOVE YOU.

I LOVE YOU TOO.

LET'S GO AGAIN!

AND ACTION!

YO.

WHERE ARE YOU?

IT'S YOUR TIME TO BE SHOOTING.

YOU'RE NOWHERE TO BE FOUND.

WHAT ARE YOU DOING?

HIT ME BACK.

AND CUT!

WHERE IS THIS GIRL AT?

A LOT IS AT STAKE.

THIS VIDEO IS ACTUALLY THE SETUP

TO THE BOSS CHICK ALBUM.

THIS IS WHAT YOU'RE GONNA SEE

FIRST, SO THIS HAS TO HAPPEN

THE RIGHT WAY.

HEY.

WHY ARE YOU SO LATE?

WHAT THE [bleep] IS THE PROBLEM?

WHAT YOU MEAN, WHY AM I LATE?

YOU'RE TWO HOURS LATE.

YOU WERE SUPPOSED TO BE HERE

AT 11:00.

THIS [bleep] COST MONEY, SO IF

WE GONNA BE SPENDING MORE MONEY

BEING HERE FOR ANOTHER TWO

HOURS--LIKE, WHY ARE YOU LATE?

WHAT IS THE [bleep] ISSUE?

I'M HERE, BUT I'M REALLY NOT

HERE, AND ME AND YOU AIN'T HERE,

OKAY?

DID YOU KNOW WHERE I WAS AT?

PICKING UP THE LAST LOAD BIN--

OF THE CLOTHES BIN THAT I DON'T

HAVE A [bleep] STYLIST,

AND I HAVE TO STYLE MYSELF.

SO DO WHAT A MOTHER[bleep]

RECORD LABEL'S SUPPOSED TO DO,

HOW ABOUT THAT?

FIRST, HE CUT THE STYLIST FROM

THE BUDGET AND THEN YELLED AT ME

FOR BEING AN ARTIST AND

THE STYLIST, AND I'M DOING

TWO JOBS?

[scoffs]

WHAT THE [bleep] IS ALL

THE ATTITUDE FOR?

YOU ACT LIKE YOU DOING [bleep]

FOR ME.

I'M PISSED.

WHAT--WHAT YOU MEAN, I ACT LIKE

I'M DOING [bleep] FOR YOU?

ARE YOU SAYING YOU ONLY DO

THINGS FOR ME?

I AIN'T TALKING ABOUT

PERSONAL LIFE.

THIS IS OUR [bleep] BUSINESS.

ALL THAT [bleep] GOT DAMN

MASHED TOGETHER.

YEAH, BUT THAT [bleep] IS

DIFFERENT.

NAH, IT'S ALL MASHING

TOGETHER RIGHT ABOUT NOW.

DON'T FORGET: I'M A MAMA.

KY'S SCHOOL [bleep] IS

GOING ON.

IT'S A LOT ON MY [bleep] PLATE

AS WELL.

AND I HOPE YOU UNDERSTAND THAT,

THAT IT [bleep] UP MY VIBE WHEN

I HAVE TO SIT HERE AND ARGUE

WITH YOU ABOUT THIS [bleep],

AND THEN I GOT TO GO GET IN

FRONT OF THE CAMERA AND ACT LIKE

EVERYTHING ALREADY GODDAMN

HONKEY DORY.

WHEN EVERYBODY'S SAYING,

"WHERE'S RASHEEDA?

IT'S TWO HOURS.

THE CLOCK IS RUNNING."

YOU KNOW WHAT? GUESS WHAT.

I GET HERE WHEN I MOTHER[bleep]

GET HERE--HOW ABOUT THAT?

I GOT [bleep] TO DO, AND IF WE

GONNA MAKE THIS [bleep] HAPPEN,

LET'S [bleep] MAKE IT HAPPEN,

BECAUSE I'M THE ONE WHO GOT TO

SIT IN FRONT OF THE CAMERA AND

WORK ALL DAMN DAY WHILE YOU SIT

AROUND AND FIDDLE-FADDLE ON YOUR

[bleep] PHONE.

THAT'S YOUR [bleep] JOB.

I DO MY PART.

YOU KNOW, WHATEVER.

RASHEEDA DOESN'T GET THAT SHE

PUTS THIS WHOLE PROJECT IN

JEOPARDY WHEN WE GO OVER BUDGET.

IF THIS VIDEO DON'T COME

TOGETHER, I MIGHT HAVE TO JUST

RETHINK MY ROLE AS THE MANAGER.

THE WAY IT WORKS IS LIKE

THIS: YES, I'M THE ARTIST,

BUT YOU ARE THE LABEL.

TOGETHER IT GOES HAND IN HAND.

AND IT PISSES ME OFF THAT I GOT

TO SIT HERE AND ARGUE WITH YOU

AT A TIME WHERE I NEED TO STEP

IN FRONT OF THE CAMERA AND BE

BEAUTIFUL AND GO OUT HERE AND GO

HAM AND DO WHAT I NEED TO DO,

AND YOU WANT TO PISS ME OFF.

ACTION!

* PUT IT ON AND MAKE HIM

♪ WANT TO MARRY ME

♪ PUT IT ON AND MAKE HIM

♪ WANT TO MARRY ME

♪ I PUT IT ON AND MAKE HIM

♪ WANT TO MARRY ME

[coy hip-hop music]

♪

[knocking on door]

HEY!

HEY, BABY!

OH, MY GOSH.

YOU LOOK BEAUTIFUL.

YOU LOOK GORGEOUS.

HEY, SO DO YOU.

KARLIE CALLS ME OVER SO WE CAN

CATCH UP.

WE USED TO RUN AROUND WHEN

I LIVED IN L.A. TEN YEARS AGO,

BUT K. MICHELLE'S BIRTHDAY PARTY

IS THE FIRST TIME I'VE SEEN HER

IN YEARS.

YOU WANT SOME TEA?

I'VE GOT SOME CHAI TEA.

TEA IS GREAT.

OKAY.

[water pouring]

THANK YOU, DEAR.

I WANT TO APOLOGIZE TO YOU

ABOUT WHAT HAPPENED.

IF I WOULD'VE KNOWN YOU WERE

STEVIE J.'S GIRL...

I MEAN, THERE'S NO NEED

TO APOLOGIZE.

YOU DIDN'T KNOW.

YOU KNOW, THE CHEMISTRY THAT

I SAW BETWEEN THEM, I WAS LIKE,

"OH.

CLEARLY, Y'ALL [bleep]."

COME ON, NOW.

YOU KNOW, I'M KEEPING IT REAL

WITH YOU.

THERE WAS A CHEMISTRY THERE.

BUT THEN SHE TOLD ME THE OTHER

DAY AS I SEEN HER IN THE STUDIO,

"OH, YOU KNOW, WE'RE NOT

[bleep], DA, DA, DA, DA, DA."

I WAS LIKE, "BITCH, LOOK ME

IN MY EYE.

YOU'RE NOT [bleep]?

COME ON, NOW.

WHY ARE YOU CALLING YOUR MANAGER

DADDY?"

I WAS LIKE, "I DON'T CALL MY

MANAGER DADDY."

I WOULD NEVER CALL MY MANAGER

DADDY.

DO YOU--YOU HONESTLY THINK

THEY'RE SLEEPING WITH

EACH OTHER?

[claps]

NO QUESTION?

RIGHT.

NO QUESTION.

SO WHAT'S YOUR RELATIONSHIP

WITH HIM?

Y'ALL TOGETHER?

Y'ALL NOT?

YES.

HAVE BEEN, YES.

WE'RE TOGETHER.

WE HAVE A TWO-YEAR-OLD.

YES.

WOW.

IS HE DENYING THE SITUATION?

OF COURSE.

OKAY.

ALL DAY.

IT SOUNDS LIKE YOU HAVE

THE OPTION TO BE LIKE, "LOOK,

CUT THAT BITCH OFF."

I WANT TO WORK WITH HIM.

YOU GOT TO LOVE

THAT KARLIE REDD.

SHE TELLS ME THAT STEVIE J.

AND JOSELINE ARE [bleep]

AND THEN TURNS AROUND AND ASKS

ME, CAN SHE WORK WITH HIM?

SHE IS LIKE, "YOU GONNA WORK

WITH HIM; I'M FIRST.

YOU KNOW, I--I'M NUMBER ONE

IN HIS--HIS ROSTER RIGHT NOW.

I'M MAIN PRIORITY,

NUMBER UNO, NUMERO ONE."

THE WAY SHE PUT IT IS LIKE

SHE THE BOSS.

SHE'S NOT RUNNING [bleep].

MATTER OF FACT, SHE WORKS

FOR BOTH OF US.

I'M GETTING 10% OUT OF HER

FOR THE LIFE OF HER.

WOW.

AND HIM AND I ARE GONNA

PARTNER UP.

YOU GO!

WE'RE PARTNERS.

I'M GLAD I'VE BEEN TALKING TO

THE BOSS, BECAUSE I NEED A HIT.

IF KARLIE WANTS TO WORK WITH

STEVIE, I DON'T WANT JOSELINE

STANDING IN THE WAY.

NOW THAT HIS MONEY IS OUR MONEY,

I'M GONNA MAKE SURE WE'RE GOING

AFTER EVERYTHING WE CAN GET.

TOAST TO PARTNER.

[laughs]

TEA TOAST.

PARTNER!

I LIKE THAT.

MM-HMM.

KARLIE CAME AND APPROACHED ME

ABOUT WORKING WITH YOU.

RIGHT NOW IN MY EYES,

SHE'S A RAT.

I JUST WANT TO MAKE SURE WE

ON THE SAME PAGE AS FAR AS

MOVING FORWARD IN OUR

RELATIONSHIP.

I GOTTA GET MY OWN SPOT.

YOU FEEL ME?

[twinkling electronic music]

♪

[piano chord plays]

IT START, LIKE, KIND OF

A SLOW MELODY GOING INTO, LIKE--

YOU KNOW WHAT I MEAN?

HOW YOU START IT OFF SLOW

WITH THE...

[plays piano chords]

[scatting]

♪

I HAVE SO MUCH LOVE

FOR STEVIE.

I OWE HIM SO MUCH.

EVERYTHING THAT I DO AND I WILL

DO, IT WILL BE BECAUSE OF HIM,

AND, YOU KNOW, HE GET REWARDED

FOR THAT.

HE WILL GET REWARDED.

HE WILL GET WHAT HE DESERVES

FROM THAT.

I LOVE STEVIE.

EVERYBODY ELSE, I REALLY DON'T

GIVE A [bleep] ABOUT.

[plays piano chord]

SOMETHING LIKE THAT.

[sighs]

I HAVE SOME OTHER THINGS TOO

THAT I WANT TO TALK TO YOU

ABOUT.

LIKE WHAT?

[sighs]

[hisses]

NO FAIRY GODMOTHER

THIS MONTH.

[pulsing percussive music]

♪

HMM?

I DON'T KNOW IF IT'S

MY NERVES.

I DON'T KNOW WHAT'S GOING ON,

BUT I HAVE TO GO TO A DOCTOR AND

MAKE SURE THAT EVERYTHING IS

OKAY WITH ME.

I DIDN'T GET MY PERIOD

THIS MONTH.

I'M JUST SO LATE.

I'VE JUST BEEN WORKING HARD.

I'VE BEEN DOING TOO MUCH.

SO I'M JUST LATE RIGHT NOW.

SO I DON'T KNOW--

HOW LONG--HOW LATE IS YOU?

LIKE, ALMOST A MONTH.

HMM.

THREE WEEKS.

WHICH ONE IS IT?

IS IT THREE WEEKS OR IS IT--

ALMOST A MONTH.

THREE WEEKS IS ALMOST A MONTH.

THREE WEEKS IS 21 DAYS.

A MONTH IS 30.

OKAY, WHATEVER YOU WANT--

WHICHEVER ONE, 'CAUSE I'M--I--

IT AIN'T LIKE I BEEN COUNTING

EVERY DAY LIKE THAT, ANYWAYS.

I'M JUST TELLING YOU WHAT I'M--

COULD COME UP THERE ON TOP

OF MY HEAD.

SO YOU THINK YOU ARE?

THAT'S WHAT YOU'RE SAYING?

HOPEFULLY I'M NOT, 'CAUSE--

WHAT ELSE IS GOOD?

WHAT DO YOU MEAN?

WHAT DO I MEAN?

WHAT DID I SAY?

WHAT DO YOU MEAN?

I'M LIKE, "WHAT ELSE?"

I'M SAYING WE SHOULDN'T EVEN

HAVE THIS CONVERSATION, PERIOD.

[sighs]

BABY?

I'M HERE TO BREAK THE NEWS TO

JOSELINE THAT I'M STEVIE'S

BUSINESS PARTNER NOW.

WHAT'S UP, BABY?

HOW ARE YOU?

I'M GOOD.

GOOD.

I'M OFFICIALLY HER BOSS,

AND IT'S TIME TO

GET TO WORK, LADIES.

AND AS YOU KNOW, JOSELINE,

STEVIE AND I HAVE BEEN TOGETHER

A LONG TIME.

AND I'M TAKING MORE OF

A POSITION IN WHAT'S GOING ON

IN THE BUSINESS.

I'M GONNA BE MORE HANDS-ON AS

FAR AS THE BUSINESS IS

CONCERNED.

MIMI DON'T RUN NOTHING

OVER HERE.

AND SHE DON'T RUN NOTHING OVER

THERE, EITHER.

SHE AIN'T RUNNING NO SHOTS OVER

THERE WITH STEVIE.

WHAT THE HELL IS YOU TALKING

ABOUT?

NOTHING'S GONNA CHANGE.

WHAT IS YOUR FEELING ON

KARLIE REDD?

KARLIE CAME AND APPROACHED ME

ABOUT WORKING WITH YOU.

WHAT DO YOU FEEL ABOUT THAT?

RIGHT NOW IN MY EYES,

SHE'S A RAT.

OKAY.

SO, YOU KNOW, I'M A DOG,

SO...

I SET THE CAT ON THE RAT.

WHAT YOU THINK?

KARLIE REDD, SHE CAN WAIT.

IT'S NOT YOUR DECISION ON

WHAT GETS DONE, WHO WORKS

WITH WHO.

THAT'S OUR DECISION.

WE MAKE THE DECISIONS HERE.

SO WHAT ARE YOU SAYING,

MANAGER?

WE'RE NOT TURNING DOWN

[bleep].

KARLIE'S GONNA BE IN THE STUDIO.

BUSINESS IS BUSINESS,

BUT IT'S GONNA BE A PROBLEM.

I'M TELLING YOU THAT RIGHT NOW.

KARLIE REDD, SHE MAY BE

A PROBLEM, BUT WE CAN GET SOME

BIG BUSINESS HANDLED AT

THE SAME TIME.

NOW, LET'S FIGURE IT OUT,

AND YOU GOT THAT.

WHATEVER YOU SAY.

PERFECT.

ALL RIGHT, BOO.

I'LL SEE YOU LATER.

[upbeat hip-hop music]

♪

WHAT'S UP?

WHAT'S HAPPENING?

HAVE A SEAT SO WE CAN JUST

CHOP IT UP FOR A MINUTE.

THERE, THERE.

UH.

THERE YOU GO.

I KNOW YOU NEED YOUR PILLOWS.

HOW WAS YOUR DAY?

IT WAS GOOD.

IT WAS PRODUCTIVE AND POSITIVE.

THAT'S GOOD.

YOU KNOW, STRESSFUL

ALL IN ONE.

YOU KNOW, BUT IT'S COOL.

I'M NOT LIVING NOWHERE NEAR HOW

I WAS LIVING WHEN I FIRST CAME

OUT OF 2004.

YOU KNOW, IN THIS BUSINESS,

SOMETIME IT'LL LOOK LIKE YOU

DOING GOOD, BUT YOU REALLY

AIN'T TOO MUCH DOIN' THEN.

DO YOU FEEL LIKE YOU ALWAYS

GOING THROUGH SOMETHING?

ARE YOU ALWAYS DEPRESSED

OR DOWN?

NOT ALL THE TIME.

I MEAN, BUT IT CATCH UP WITH ME.

SCRAPPY'S CAREER RIGHT NOW IS

UP AND DOWN.

IT'S A REAL STRUGGLE FOR HIM.

SO THAT TAKES A BIG TOLL ON

OUR RELATIONSHIP.

I JUST WANT TO MAKE SURE WE ON

THE SAME PAGE AS FAR AS MOVING

FORWARD IN OUR RELATIONSHIP.

WHAT--WHAT'S THE STEPS WE NEED

TO TAKE TO MOVE FORWARD?

I JUST WANT A PEACE OF MIND.

YOU FEEL ME?

JUST PEACE OF MIND SO I CAN

GATHER MY THOUGHTS, MAN.

THIS INDEPENDENT STUFF IS

A WHOLE NOTHER GAME, YOU KNOW?

AND I HAVEN'T BEEN THERE BEFORE,

BUT...

SEE, THAT'S WHAT I WAS

TELLING YOUR MOTHER.

YOU WEAR YOUR EMOTIONS ON

YOUR SHOULDER.

LIKE, WHATEVER YOU'RE DEALING

WITH OR WHATEVER YOU GOT GOING

ON, THAT'LL AFFECT YOUR WHOLE

DAY OR ANY RELATIONSHIP

WITH ANYBODY.

AND I NEED YOU TO LEARN HOW TO--

YOU KNOW WHAT I'M SAYING--

DIFFERENTIATE THAT

AND SEPARATE IT.

I JUST LIKE TO BE LEFT ALONE

WHEN I'M GOING THROUGH STUFF.

I DON'T LIKE TO--YOU KNOW WHAT

I'M SAYING?

ESPECIALLY IF I'M GOING THROUGH

SOMETHING AND, LIKE, THEN

I DON'T WANT NOBODY TO TENSE

AT ME EVEN MORE.

LIKE, LET IT BE NOTHING BUT

POSITIVE STUFF COMING.

ON ONE HAND, THE CAREER

STRESSING ME OUT; ON THE OTHER

HAND, BABY MAMA ERICA STRESSING

ME OUT.

IT'S JUST KIND OF PUTTING ME IN

A MIND STATE.

I JUST WANT TO BE TO MYSELF.

I GOTTA GET MY OWN SPOT.

YOU FEEL ME?

IF I WAS AT MY OWN HOUSE,

THERE WOULD BE CERTAIN THINGS

THAT YOU WOULDN'T EXPECT

FROM ME.

BUT YOU WOULDN'T EXPECT FOR ME

TO TELL YOU EVERYWHERE I'M GOING

OR WHEN I'M GOING OFF ON A WALK

OUT TO THE STORE OR SOMETHING

LIKE THAT.

FIRST OF ALL, LET'S JUST

CLEAR THIS UP: I DON'T ASK YOU

EVERYWHERE YOU GO, 'CAUSE I

DON'T FEEL THE NEED TO ASK YOU

EVERYWHERE YOU GO.

SO YOU JUST HAVE AN ATTITUDE,

YOU KNOW WHAT I'M SAYING?

AND WHERE DO YOU GET THAT

I HAVE AN ATTITUDE?

'CAUSE I KNOW YOU.

I KNOW THE WAY YOU MOVE.

[chuckles]

AND YOU BE MOVING, YOU KNOW,

OFF-ISH.

YOU KNOW HOW YOU GET WHEN YOU

HAVE AN ATTITUDE, YOU GET REAL

OFF-ISH.

I'M NOT AGAINST IT.

I'M FOR IT.

BUT I JUST WANT TO MAKE SURE

YOUR INTENTIONS ARE STILL GOOD

WITH YOU MOVING INTO

YOUR OWN PLACE AS FAR AS

OUR RELATIONSHIP.

ARE YOU STILL WILLING--WANTING

TO WORK FORWARD?

IF I DON'T WANT TO WORK

FORWARD, I WOULD DEFINITELY

TELL YOU.

I WOULD DEFINITELY TELL YOU.

IT MAY SOUND STRANGE,

BUT SCRAPPY AND I ARE ACTUALLY

BETTER LIVING APART.

ALL I WANT IS JUST HONESTY AND

JUST REALNESS, AND IF I CAN'T

GET THAT FROM HIM, WE'RE JUST

GONNA BE FRIENDS.

THE TRUTH WILL SET YOU FREE.

YOU FEEL ME?

I'M READY TO SET MYSELF FREE.

THEN SET ME FREE TOO.

I WOULD DEFINITELY

SET YOU FREE.

OKAY.

YOU WILL WORK WITH STEVIE J.

WHEN YOU GET THE CHANCE TO WORK

WITH HIM,

IF I ALLOW HIM TO WORK WITH YOU

AT THE END OF THE DAY, HONEY.

DOES IT LOOK LIKE

I'M WORRIED?

[driving hip-hop music]

♪

YOU NEED TO MIND YOUR

BUSINESS, KARLIE REDD.

I'M TIRED OF TELLING THE GIRL TO

MIND HER BUSINESS.

WHY YOU CAN'T MIND

YOUR BUSINESS?

IT'S TIME FOR ME TO GIVE THIS

BITCH A REALITY CHECK.

HEY, KARLIE.

PLEASE STOP GOING BEHIND

MY BACK TO BE ABLE TO WORK

WITH STEVIE WITH MIMI,

BECAUSE SHE HAS NO SAY-SO IN

WHAT STEVIE AND I GOT GOING ON.

I DON'T WANT TO HEAR NONE OF

THAT BULL[bleep] ABOUT YOU AND

MIMI TALKING.

I DON'T GIVE A [bleep]

ABOUT THAT.

DON'T TALK ABOUT ME WITH MIMI.

AND THAT'S ALL I GOTTA SAY.

WE AIN'T GOT TO DO TOO MUCH

TALKING, 'CAUSE I ONLY CAME OVER

HERE TO TELL YOU ONE THING AND

ONE THING ONLY, AND THAT'S WHAT

I GOT TO TELL YOU.

I NEVER HAD TO GO THROUGH

THIS WITH A [bleep] PRODUCER

BEFORE.

THIS IS THE [bleep] MUSIC

INDUSTRY, NOT BABY MAMA AND

[bleep] GIRLFRIEND DRAMA!

WHAT THE [bleep]?

TO ME, YOU AND MIMI ARE A JOKE.

LIKE, Y'ALL CRACK ME UP, BECAUSE

ONE MINUTE ONE PERSON IS LIKE,

"YOU GOT TO THROUGH ME TO WORK

WITH, YOU KNOW, STEVIE J."

ANOTHER PERSON IS LIKE, "YOU GOT

TO GO THROUGH ME TO WORK WITH

STEVIE J."

I NEED TO KNOW WHO STEVIE J.

MANAGER IS, 'CAUSE Y'ALL ARE

FUNNY.

YOU ARE A JOKE TO ME.

[chuckles]

AND I DON'T APPRECIATE YOU

GOING BEHIND MY BACK.

NO, NO, NO, NO.

TRYING TO--

I DIDN'T GO BEHIND YOUR BACK.

IT DOESN'T MATTER.

MIMI CAME TO MY HOUSE, OKAY?

IT DOES NOT MATTER.

YOU STILL TALKING ABOUT ME.

NO, MIMI WAS TALKING ABOUT

YOU.

BUT YOU WAS TALKING TO HER,

THOUGH.

MIMI'S NOT WORRYING ABOUT YOU.

FROM OUR CONVERSATION...

I'M TELLING YOU IS THIS:

YOU WILL WORK WITH STEVIE J.

WHEN YOU GET THE CHANCE TO WORK

WITH HIM, IF I ALLOW HIM TO WORK

WITH YOU AT THE END OF THE DAY,

HONEY.

DOES IT LOOK LIKE

I'M WORRIED?

[scoffs]

YOU MIGHT NEED TO BE, 'CAUSE I

DON'T KNOW WHERE YOUR CAREER IS

GOING.

SOMEBODY IS GOING TO [bleep]

THAT ASS, AND I HOPE IT'S

SOMEBODY YOUNG AND FAST THAT CAN

WHUP THAT ASS, 'CAUSE, HONEY,

YOU DESERVE THAT ASS-WHUPPIN',

'CAUSE YOU TALK TOO MUCH.

WHEN STEVIE GOT THE TIME,

AND IF I ALLOW HIM TO,

THEN YOU CAN WORK WITH HIM.

WE ALREADY DISCUSSED THAT.

YOU AIN'T WORKING WITH HIM.

YOU JUST HAVE YOU A GREAT

WORKOUT.

GOOD-BYE.

YOU NEED SOMETHING TO SAY!

IT'S OVER. GOOD-BYE.

AIN'T NOBODY THINKING ABOUT

YOU, JOSELINE!

GOOD-BYE!

[somber electronic music]

♪

YOU BROUGHT THIS TO ME?

WHO ELSE AM I SUPPOSED TO

TAKE IT TO?

WE GOT WORK TO DO.

YOU SUPPOSED TO HANDLE THIS

OFF THE REP.

WATCH THE BEST MOMENTS AND

[aggressive hip-hop music]

♪

MM, WHAT UP?

WHAT'S UP WITH YOU?

WHY ARE Y'ALL QUIET?

WHAT'S UP?

YOU LOOK NICE.

WHERE YOU COMING FROM?

I JUST TOOK A PREGNANCY TEST.

PREGNITO.

HEY, HEY.

[crying]

WHAT YOU CRYING FOR?

HUH?

WHAT'S WRONG?

HUH?

WHAT'S UP?

TALK TO ME.

YOU GOT TO SAY SOMETHING.

DON'T JUST BE QUIET.

YOU GOT TO SAY--WHAT'S GOING ON

WITH YOU?

[sniffling]

SO WHAT YOU GONNA DO

ABOUT THIS?

I DON'T KNOW WHAT

I'M GONNA DO.

YOU KNOW YOU GOT THINGS TO

DO, RIGHT?

[sighs]

YOU KNOW THAT, RIGHT?

[sniffling, sighing]

YOU ACTING LIKE THIS THE END

OF THE WORLD.

STOP CRYING.

LET'S TALK ABOUT WHAT WE'RE

GONNA DO.

LET'S FIND A SOLUTION

TO WHAT'S UP.

YOU GOT TO START BEING

MORE CAREFUL.

LOOK AT YOU.

IS THIS WHAT YOU REALLY, REALLY,

REALLY BROUGHT YOUR MANAGER?

YOU BROUGHT THIS TO ME?

WHO ELSE AM I SUPPOSED TO

TAKE IT TO?

I'M JUST SAYING, WE GOT WORK

TO DO.

AND YOU'RE SUPPOSED TO HANDLE

THIS OFF THE REP.

ALL RIGHT?

WE GOT PHOTO SHOOTS COMING UP.

YOU IN WITH YOUR CHOREOGRAPHER

RIGHT NOW.

NOW YOUR ROUTINE'S JUST GONNA BE

THROWING UP ALL OVER THE PLACE?

I CAN'T EVEN BELIEVE STEVIE.

I JUST TOLD HIM I'M PREGNANT.

HE'S TALKING ABOUT PHOTO SHOOTS

THAT'S COMING UP.

WHAT IS HE TRYING TO PROTECT:

MY CAREER, OR IS HE TRYING TO

PROTECT HISSELF?

WHO BABY IS IT?

WHO YOU BEEN [bleep] WITH?

THAT'S NOT IMPORTANT WHO BABY

IT IS.

[sniffles]

HOW IS THAT GONNA HELP

THE SITUATION?

I JUST WANT TO KNOW.

I'M NOT GONNA TELL YOU.

WHO IS IT?

WHY IS YOU DRILLING ME

RIGHT NOW?

WHY ARE YOU--WHY DO YOU DO

[bleep] LIKE THAT?

'CAUSE I CAN.

NO, YOU CAN'T.

I CAN.

YOU CAN'T.

I CAN.

WELL, THEN WE DON'T NEED TO

BE HAVING THIS CONVERSATION--

WE'RE GONNA HAVE--LET'S JUST

HAVE THIS CONVERSATION.

NO, YOU DON'T NEED TO BE

DRILLING ME.

SO YOU GO FROM SENTIMENTAL

TO STRAIGHT RAW ON ME--

BECAUSE YOU PISSING ME OFF.

YOU KNOW WHAT I'M GOING THROUGH.

YOU'RE STILL [bleep] ASKING ME

WHO THE [bleep]--WHO GIVES

A [bleep]?

WHOSE BABY IS IT?

YOU REALLY WANT TO KNOW?

I HAVEN'T [bleep] NOBODY FOR

THE LAST SIX MONTHS BUT YOU.

ON THE NEXT LOVE & HIP-HOP

ATLANTA...

YOU AIN'T GONNA HAVE NO MONEY

LEFT AFTER YOU MESS WITH ME.

I'M GONNA BRING YOU THE 50%

PAPERWORK.

50% OF WHAT?

OF THIS?

DON'T DO IT.

I DON'T EVEN KNOW YOU.

YOU AIN'T SAYING [bleep].

I'M NOT [bleep], BITCH.

BITCH?

YES, BITCH!

THAT'S WHAT HE CALLED ME.

I WANT TO ROUGH HIM UP,

THOUGH, YOU FEEL ME?

I WANT TO PUT THEM PAWS ON HIM.

HEAR THAT?

YOU'RE A STRIPPER

WHO'S TRYING TO--

I WAS A STRIPPER,

AND I'M NOT TRYING TO GET OUT.

I WAS A STRIPPER.

YOU [bleep] AROUND.

AND YOU'VE GOTTEN [bleep] EVERY

WHICH WAY FROM SUNDAY.

DO YOU EVEN KNOW WHO YOU

PREGNANT BY?

I'M PREGNANT BY YOUR MAN.

YOU KNOW WHAT SHE TELL ME?

"I GAVE YOU YOUR LIFE."

OKAY, IF YOU GAVE ME ME LIFE,

IF YOU GONNA TAKE IT BACK EVERY

CHANCE YOU GET, I DON'T NEED YOU

TO GIVE ME NO [bleep] LIFE.

WHAT ARE YOU GONNA DO

ABOUT THE BABY?